Constructivist typographic journal

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A Constructivist typographic journal

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  • ICONSTRUCTIVISMT

    YP

    OG

    RP

    HI

    C

    JO

    UR

    NA

    L

  • II

    C

    O

    N

    T

    E

    N

    T

    S

  • III

    Introduction

    Historical Context

    Theoretcial context

    Experiments

    Typeface

    Bibliography

    IV-V

    VI-VIX

    X-XIII

    XIV-XXXI

    XXXII-XLIX

    L-LI

  • IV

    NTRODUCTION

    The end of an era brings about

    the new. Revolution is in the air and

    new ways of design are taking over,

    traditionalist methods of old are

    shunned and a new way of thinking is

    needed. Artists and designers are no

    long the elite of society. They are the

    engineer, the worker, the labourer

    and the constructor.Constructivism was an

    avant-garde art movement that

    originated in Russia shortly after

    the revolution in 1917, it was

    very strongly associated with

    communism. Although short lived

    its bold aesthetic quality meant

    it has influenced a variety of

    contemporary designers.

  • Contemporary

    Neville Brody

    Jaime Gili

    Oscar Niemeyer

    Vaughan Oliver

    Historical

    El Lissitzky

    Vladimir Tatlin

    Naum Gabo

    Alexander Rodchenko

    Vladimir Mayakovsky

    The Stenburg Brothers

    Aleksei Gan

    Lyubov Popova

    Kasimir Malevich

    Artists associated with constructivism

    V

  • VI

    ISTORICAL CONTEXT 1917REVOLUTION

    Death to Art!It arose naturallyDeveloped naturally And disappeared naturally.

  • VII

    1917, Russia is in revolution.

    In these new terbulent times

    there is no place for the ways of

    old and the Artist elite is pushed

    to the side by the new avant

    garde designers.

    It is a time of industry, of new

    materials and of design created

    for the people.

  • VIII

    El Lissitzkys Beat the white

    with the red wedge is an iconic

    constructivist design and a good

    example of the simple geometric

    shapes and contrasting bold

    colours that are associated with

    constructivist design. The design

    is seemingly abstract but the

    message is clear and bold.

  • IX

    El Lissitzky, Beat the Whites with the Red Wedge, 1919

  • Xheoretical context

    Let the picture imitate nothing

    Albert Gleizes.

    Constructivist thinking was

    heavily intertwined with communism

    and marx theory, it was a socialist

    design movement with goals aimed

    towards the benefit of greater

    society. Ideas of non-objective art

    and art without subject matter were

    explored. Art that had an aspect

    personal to the individual became

    unfashionable and functional design

    for the masses was in.

  • XI

    The Slogans of the Constructivists

    1. Down with art. Long live technic.

    2. Religion is a lie, Art is a lie.

    3. Kill human thinkings last remains

    tying it to art.

    4. Down with guarding the traditions

    of art. Long live the Constructivist

    Technician.

    5. Down with art. This only

    camouflages humanitys impotence.

    6. The collective art of the present is

    constructive life.

    Stephen Bann The tradition of

    constructivism pp-9

  • XII

    The Constructivists seemed just

    as interested in the philosophy of

    their movement as much as their

    designs. There was a lot of emphasis

    on renouncing the old ways of art and

    looking at design from a more scientific

    or logical perspective with many artists

    likening themselves to engineers

    Alexander Rodchenko .The Board for the Leningrad

    branch of the State publishing house . 1924

  • XIII

    The movement explored a number

    of different themes throughout design

    including-

    Mathematics

    Chance or random design

    Optical phenomena (optical illusions)

    Movement

    Light

    Colour

    Space

  • xperimental stages

    Constructivist designers

    used alot of paper cut outs to

    create geometric shapes and

    compositions. so i began by

    making some simple designs out of

    coloured card.

    XIV

  • XV

    I sought refuge in the form of the square.

    kasimir Malevich 1913

  • XVI

    Letterforms can be found in unlikely

    places. Here a well used cutting

    board was used to create abstarct

    letterforms made up from random

    straight lines and shapes

  • XVII

  • XVIII

    Taking the paper cut out techniqes

    further to create letters. A successful

    technique and a good basis for future

    development. The bold simple shapes

    and colours are similar with those

    associated with constructivist designs.

  • XIX

    Experiments using positive space to create shapes.

    Treat nature in terms of the cylinder, the sphere, and the cone,

    Paul Czanne.

  • we declare uncompromising war on art!

    the 1st working group of constructivists 1921 moscow.

    XX

  • XXI

    Initial pencil layouts explorng different shape combinations

  • XXII

    long live the communist expression of material construction!

    the 1st working group of constructivists 1921 moscow.

  • XXIII

    The aim was to make letters that

    were basic, bold and yet sturdy as if

    products of industry. A lot of emphasis

    was placed on using triangles, columns

    and semi cicles with strong contrasting

    colours for maximum effect.

  • Original sketches

    were taken further into

    digital format. Recreated

    using the pathfinder tool.

    XXIV

  • XXV

    A quick and effective method

    of working with shapes and

    using traditional Constructivist

    techniques in a modern way.

  • XXVI

    Here the technique of

    photomontage was explored.it

    was a teqchnique used widely

    by the constructivists. It is an

    interesting and unique way of

    constructing letterforms

  • XXVII

  • XXVIII

    Many of the original designs

    were slightly more complex than

    they needed to be. So in keeping

    with simple Constructivist thinking

    they were simplified down to more

    basic shapes, losing the coloured

    backround aswell.

  • The collective art of the present is constructive life.

    XXIX

  • XXX

  • XXXI

    Through experimenting ive

    found that limiting the colours i

    use creates the best results, black

    and red work well together and

    ive stopped including grey and a

    coloured backround. its become

    apparent that the letters need to

    be simple and bold in order to be

    legible and satisfy the contructivist

    element of the typeface.

  • XXXII

    he

    ypeface

    L E T T E R S

    N U M B E R S

    P U N C T U A T I O N

  • XXXIII

  • XXXIV

    L

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  • XXXV

  • XXXVI

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  • XXXVII

  • XXXVIII

    L

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  • XXXIX

  • XL

    L

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  • XLI

  • XLII

    L

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  • XLIII

  • NU

    MB

    ER

    S

    XLIV

  • XLV

  • XLVI

  • NU

    MB

    ER

    S

    XLVII

  • Pu

    nc t u

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    kXLVIII

  • XLIX

    C

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  • L

  • LI

  • LII

  • LIII

  • LIV

    B

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    R

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  • LV

    Website articles

    (2009)

    (unknown date)

    (2009)

    (2010)

    (2009)

    Videos

    Rodchenko and Povova.

    Alexander Rodchenko smashing the mouldbbc 4 the art of Russia series.

    Constructivism and the art of everyday life series of lectures on constructivism - from the tate channel.

    Books

    Ricky, G,1968.Constructivism - origins and evolution. George Braziller Inc.

    Bann, S 1974 The Tradition of Constructivism. Viking press.

  • LVI

    Down with art. Long live technic.